Author: monstergirl
Indie artist Jo Gabriel reminisces on film & television, from silent film to the 80s, horror, sci-fi, cult, thriller, film noir, and retro TV.
Grease To Grit: The Unforgettable Journey of Adrienne Barbeau -Part 2 Including My Interview!
Read Part 1 HERE
Adrienne Barbeau: A Bold New Chapter in 70s Television:
In the 1970s, television actors like Adrienne Barbeau faced significant barriers when transitioning to feature films; no one would consider hiring you, as the prevailing mindset was – why would audiences pay the price of a movie ticket to see an actor when they could just turn on their television and see them at home, for free.
Adrienne had a steady job from July through February every year and worked in New York for eight years prior without having had an agent, but once nominated for a Tony, she signed with Marvin Josephson at the Agency for the Performing Arts who negotiated the deal for Maude.
When she moved to L.A., her journey through various agencies was tumultuous and marked by a series of coincidences. She was told that she should be doing other things than Lear’s television series, like the popular viewing experience at that time, for instance, the movie of the week.
Adrienne meets Johnny Carson for the first time in a 1973 guest appearance.
Adrienne, during her 1976 hiatus from Maude, was now working with the Creative Artists Agency (one of the industry’s most powerful firms at the time). She demanded a commission for a gig opening for Roy Clark at Harrah’s, which she secured directly from Clark’s manager despite the fact that singing engagements were not part of her contract. She changed agencies once again.
Mike Ovitz, the cofounder of Creative Artists Agency (Ovitz transformed the negotiation of major deals in film, TV, music, and corporate media from the 1970s to the 1990s), was a major male chauvinist who considered women – “˜chattel.’ This was another reason she didn’t feel comfortable being represented by CAA.“Every time we spoke on the phone, I hung up, enraged or in tears. He didn’t have a clue, of course.”
Adrienne Barbeau on the gameshow in 1974 hosted Dick Clark with Tony Roberts appear on The $10,000 Pyramid New York NY ABC Studio Elysee Theater – Photo by ABC getty images-1231784707.
The Tonight Show – Adrienne Barbeau, John Wayne, Bing Crosby, Bob Hope with host Don Rickles: photo by Fred Sabine 1974 NBC UNIVERSAL via Getty Images.
Adrienne started singing again and appearing on live talk shows. Working on The Tonight Show was a big career boost, and she did many interviews with Johnny Carson. Adrienne recounts in her book how the co-originator working on the pre-interview for Carson’s show would scream and put pressure on Adrienne to show up early. It made her break out in hives. However, all the other cohosts, including Roy Clarke and George Carlin, were wonderful. Singing was the hardest part of her various guest appearances. She hadn’t sung since Maude’s telethon episodes or Grease.
Adrienne Barbeau as Daisy in the television biopic The Great Houdini in 1976.
In 1976, Adrienne Barbeau appeared as Daisy White in her first TV movie, The Great Houdini, which is a slight supernatural dramatization of the life and the rise to fame of the iconic magician and escape artist. The movie starred Paul Michael Glaser (80s television’s sensitive action hero cop Dave Starsky) as Harry Houdini and featured Adrienne as his beautiful assistant. This TV movie included Ruth Gordon and Peter Cushing. Adrienne had no scenes with these two great actors, so she didn’t get to spend any time with them. However, she did know Sally Struthers because of her work as Gloria on Norman Lear’s All in the Family. It also features Vivian Vance, who played Ethel Mertz, Lucy’s loyal and comedic sidekick in the iconic comedy series of the 1950s, I Love Lucy.
“The first job they (Creative Artists Agency) got me was Houdini, a TV movie with Paul Michael Glazer and Sally Struthers; I was to play Houdini’s mistress. After I accepted the offer, the agent called back to say they wanted to do a semi-nude scene for the European release. I was so concerned about being shot only from the waist up and no one seeing my big butt that it never dawned on me to ask for more money. The agent didn’t either. Mike Ovitz was one of the partners in the film. This was the 1970s. I was a strong believer in the Equal Rights Amendment.”
from an interview with The Terror Trap in 2010-“It was the first film I had ever done and I knew nothing about film. I had only done stage and tape up until that time. We did Maude the same way you do a stage play. We just rehearsed for 4 1/2 days and then did it for an audience straight through, no stops or anything. So we did the master…the first establishing shot… on Houdini… and I didn’t know that people did close-ups. I went off and started to change clothes to do the next scene! It was my first film experience and a real learning process.”
Adrienne has appeared in many TV movies, particularly Crash in 1978. One of the little details out of so many I found interesting in reading her memoirs was one of the only things that sticks out about working with director Barry Shear on that film. He was a screamer; he constantly yelled at everyone on the set and cursed up a storm. As Veronica Daniels, the shattered stewardess in a minor disaster flick, Adrienne once again shows that she is a very serious actor
“I think I was hired for a Quincy. If anyone is old enough to remember, Quincy, and I played a dramatic role there. Then suddenly, oh ok, she can do drama. She can do comedy. She’s a TV actress, but in 1978, feature producers did not think that anyone would pay to see a television actor on the big screen. So, no movies were coming my way. You know, because she’s on TV.” (from There Are Worse Things I Can Do)
Adrienne met John Carpenter in 1978 when he was casting his first network television film after Warner Bros hired him to write the screenplay and direct Someone’s Watching Me!
Her agent called and told her that this young, up-and-coming director wanted to meet her. She read the script and thought it was one of the best scripts for television that she had read. Adrienne wound up auditioning for the part of Lauren Hutton’s best friend and was offered the role. Carpenter was funny and relaxed, and she instantly felt at ease. There was an instant attraction. Her memoirs include a colorful description of her first meeting and the intense relationship that ensued with John Carpenter. Again, There Are Worse Things I Could Do is a must-read.
“He watched me in Maude, liked the character I played, and was hoping I had her same sensibilities; It was that kind of character he wrote, the Howard Hawks-type woman. Strong, smart, quick, witty. He was nervous it was his first studio film, and he was having to answer to “˜the suits.'” (Pg 14)
In one of director John Carpenter’s earlier works after his first feature film, Dark Star, in 1974, Someone’s Watching Me! 1978 was his television debut. This TV movie is a well-crafted woman-in-peril TV thriller centered on obsession, voyeurism, and the fragility of safety in urban life. It stars Lauren Hutton as Leigh Michaels, the lead heroine, a TV director who is under surveillance by a voyeur who is stalking her in her L.A. high-rise apartment. Originally titled High Rise and filmed in eighteen days, it was also scripted by John Carpenter; it is a bit of a tribute to Hitchcock’s Rear Window 1954 and would showcase a number of the director’s techniques that would emerge in his subsequent films. In particular, his gliding camerawork, point-of-view shots, and unexpected shock cuts.
Someone’s Watching Me! was based on a Sun-Times story called “Terror in a High-Rise” by Paul Galloway and Basil Talbott Jr. The story was about a woman living in a high-rise apartment who believed she was being spied on in her home and threatened by an anonymous stalker, which led to her suicide.
Adrienne Barbeau’s character is somewhat of a transformational role for a made-for-TV movie in 1978 because she is a lesbian who was treated very matter-of-factly. Adrienne ends up getting thrown off her apartment balcony while Lauren Hutton watches helplessly through her telescope.
Leigh (Lauren Hutton) becomes terrorized by threatening phone calls and letters from a mysterious man who seems to know her every move as she tries to convince the police that she’s in danger.
Adrienne Barbeau plays Sophie, Leigh’s co-worker and friend, who is casually revealed to be a lesbian during a conversation about ex-lovers. Being Leigh’s supportive friend – Sophie steps in to help her deal with the growing threat, and it gets her killed for her trouble.
Adrienne’s performance has been praised for its lack of sensationalism and is considered pretty progressive for a 1978 television. Sophie has been recognized as an early example of positive queer representation in media. “The first scene I did for John Carpenter in Someone’s Watching Me! was a scene where I revealed to Lauren Hutton that I’m gay. John wrote it beautifully.”
Adrienne herself has spoken positively about her role in interviews, acknowledging the significance of playing a casual, positive lesbian character in a 1978 TV movie, especially given the era in which it was produced. This was one of Adrienne Barbeau’s first collaborations with John Carpenter before the couple married, and she would go on to star in her first feature film.
To Adrienne, after years of doing musical theater and a major TV sitcom, the idea that she can “˜do less,’ those two words made all the difference in terms of the work she was now doing
“It wasn’t until I did my first film. It was with John Carpenter, and it was a television film called Someone’s Watching Me! Up until that point, I had done a massive amount of stage work, and I had been on the sitcom Maude. I had been in television movies, which were usually with a director who’s not taking the time to adjust your performance. So, we did the first scene, and John came over and said, “˜That was great. That was great. Let’s do it again and do less.’ I said Do less?” And all of a sudden, it was like, okay, that’s the last piece of the puzzle. That’s the light bulb going off.
I had been working on stage for most of my life, It’s a film, not stage, not a four-camer sitcom. Even situational comedy on Maude, we did it like a play. We did it for an audience. And now, John was telling me how to let the camera do the work and keep it small. So, I added that to my education.”
“All I knew about John was that he made horror movies; I’d heard about his ‘Assault on Precinct 13,’ I think. I walked in expecting some kind of hard-boiled guy, and here was this sweet, salt-and-pepper, gentle man… I think I began to fall in love with him right then and there. But I heard that he was seeing somebody else, and so all during the filming of ‘Someone’s Watching Me!,’ I kept my distance, and I tried to discourage my emotional feelings.”
“And then, on the last day of shooting, John said he wanted to have dinner with me and discuss something. I thought maybe it was his next screenplay. He sat down and said, ‘I’ve fallen in love with you.’ Well…we were married Jan. 1, 1979.” (Interview with Roger Ebert)
The couple wed and moved into the Hollywood Hills section of Los Angeles, purposefully remaining “totally outside Hollywood’s social circles.” (Roger Ebert) They remained together for five years but separated shortly after the birth of their son, John “Cody” Carpenter, on May 7, 1984. The couple divorced later that year.
1979 marked a pivotal year in John Carpenter’s career, propelling him to new heights of success. His film Halloween, released on October 25, 1978, became a box office phenomenon in 1979, establishing itself as the most profitable independent production in Hollywood’s history at that time. At the time the couple was starting out, and before his breakthrough, Adrienne had been the more prominent figure because of her Broadway success with Rizzo in Grease and her long-standing role in Maude. Halloween opened new doors for John Carpenter, which led to a lot of industry interest, getting calls and offers, and this newfound recognition translated into tangible opportunities and elevated his status in Hollywood. Now, he was able to secure financial backing for his next project, The Fog, in 1980.
The Fog is based on Carpenter’s idea “”nothing more than that a horror movie could be made with Fog as a leading character””and it provided Adrienne Barbeau with her first major movie role. But first, a year after Someone’s Watching Me! Adrienne appeared in another spooky made-for-TV movie.
Adrienne Barbeau and Robert Foster in the television horror/sci-fi flick The Darker Side of Terror 1979.
In an early foray into horror, before Adrienne Barbeau introduced us to Stevie Wayne in Carpenter’s The Fog, she appeared in the television movie – The Darker Side of Terror, a chilling chronicle of scientific hubris and a potentially intriguing doppelganger scenario, which crept onto television screens on April 3, 1979. At its heart lurks the aging Professor Meredith, played by Hollywood great Ray Milland, who by this time became his own brand of the cantankerous curmudgeon trope in these types of b-horror/sci-fi narratives. In this movie, his unorthodox ambitions lead him down a twisted path; with a daring act of genetic manipulation, he creates a carbon copy of his star pupil, a brilliant young academic Paul Corwin (Robert Forster). The only way you can tell the difference between the two Pauls is when the clone’s eye suddenly turns a ghostly white as sudden, murderous impulses strike him.
After Paul’s clone escapes from the lab, he falls in love with Adrienne, playing Paul’s unsuspecting and neglected wife, Margaret, who becomes seduced by Paul’s doppelganger, unaware that all this newfound passion and attention is coming from the wrong man.
Adrienne Barbeau stars with Greg Mullavey, Jessica Walter, and Ronny Cox in the TV movie Having Babies 1976: photo by ABC via Getty images-1228129255
Adrienne Barbeau in THE LOVE BOAT Hollywood Royalty/The Eyes of Love/ Masquerade 1978 seen here with Juliet Mills ABC Photo Disney via Getty Images.
Adrienne’s other credits: Her appearances in 1970s television movies and series, including the TV movie Having Babies in 1976, the TV movie Red Alert in 1977, and the TV movie Crash in 1978. She also appeared in an episode of Eight is Enough in 1977 and a very intense episode called Let Me Light the Way for Jack Klugman’s popular television series Quincy, ME 1977. On the light side, she appeared in episodes of The Love Boat in 1978 and Battle of the Network Stars in 1978.
In Adrienne’s autobiography, she said: “I actually thought CBS asked me to be on Battle of the Network Stars because they thought I was athletic. My husband clued me in: Who cared if I won the race, as long as I bounced when I ran?”
Adrienne Barbeau: The 1980s and The Rise of a Horror Icon:
Adrienne at Avoriaz le 20 Janvier 1980: photo by Jean-Louis URLI/Gamma-Rapho Getty images-1753991732.
Grease To Grit: The Unforgettable Journey of Adrienne Barbeau -Part 1
From Rizzo to Scream Queen – Adrienne Barbeau’s Candid Memoir There Are Worse Things I Could Do Reveals the Woman Behind the Role of Icon:
I have been a huge fan of Adrienne Barbeau since she appeared on television in the role of Bea Arthur's daughter Carol on the hit 1970s sitcom Maude. Maybe it was her raw authenticity that transcended the TV role; maybe it was her natural sensuality, her sharp jawline, glass-cutting cheekbones, and deep brown eyes. Growing up in the sixties and "˜70s, Adrienne Barbeau’s energy immediately drew me in. I care and recognize the contribution of her work across her long career.
I'm also one of those fans who is still steaming over HBO's cancellation of the dramatic and surreal series, Carnivà le. Adrienne's portrayal of Ruthie was not at all surprisingly captivating and jaw-dropping, watching her channel the grit of a wise and weathered soul who dances with Boa constrictors. Adrienne Barbeau's vivid presence embraced the curiosity of this extraordinary show and its transformative storytelling. And there is nothing more evocative and stirring than the sound of Stevie Wayne's smokey tones over the airwaves of KAB in John Carpenter’s The Fog. She sets the mood for one of cinema’s most haunting visions rolling in from the sea.
All I can say is that I'm beyond excited and extremely grateful to Adrienne Barbeau"”this legendary actress, performer, vocalist, author, and now trapeze artist! for granting me an interview amidst her busy schedule while on location shooting her latest project. She is so incredibly gracious with her time to answer my involved questions and sharing with us her perspective on life and her extensive career.
First of all, I can't urge people enough to read Adrienne Barbeau's memoirs There Are Worse Things I Could Do. She is a richly talented storyteller. Her memoir had reached No. 11 on the Los Angeles Times bestseller list in 2006.
In a cheerful, whimsical way, Adrienne Barbeau narrates her life story not only of her wandering existence as an all-around performer but as a versatile, strong, and self-possessed woman.
Her memoirs are witty and self-effacing; it is a lively, joyous, hilarious, intimate account of this genuine actress's life. She shares her adventures, not only her journey as a talented performer (acting & singing) & writer but also the authenticity and raw honesty with which she relates her funny, at times poignant experiences in the search for self-reflection and self-confidence. She boldly talks about her romantic relationships and her long-lasting friendships, both professional and private, putting a hilarious spin on her intelligent, personal narrative. I devoured the book in just two days, captivated by her vivid anecdotes, and it also offers a fascinating glimpse into the industry.
"Wow!! Adrienne, like Mame, has LIVED!!!! And like Candide, she emerges unscathed, as dear as she was when she began. But what a wild ride!!!" – Bette Midler
"There Are Worse Things I Could Do, says Adrienne Barbeau, but she couldn't do anything better than writing this delightful memoir." – Norman Lear
"I've rarely read a "˜Show Biz' autobiography that made me feel as much affection for the speaker." – George Romero
There is so much to take in, from growing up on a farm in California to life at 15 when she unriddles in the dramatic entries of her journals the depth of her teenage angst, philosophizing, and the deep thoughts of a young dreamer with intellectual wanderlust.
Adrienne Barbeau and cast in the Broadway production of Grease, 1972 photo courtesy of Playbill.
Adrienne reflects on her time in the original Broadway production of Grease as Rizzo, a role that helped launch her career. The book offers candid details about her relationships, the tumultuous romance with Burt Reynolds, and her second marriage to Billy Van Zandt in 1992. The couple divorced in 2018. It also tells the story of having twins when she was 54, giving birth to her sons Walker Steven and William Dalton Van Zandt.
Adrienne Barbeau Avoriaz, le 20 janvier 1980. (Photo by Jean-Louis URLI/Gamma-Rapho via Getty Images)
Adrienne Barbeau recounts with her readers, behind-the-scenes stories from various productions, including The Fog, Escape from New York, her work on Carnivà le, and more, including her working relationship with director and ex-husband John Carpenter that lasted from 1979 to 1984, working with directors George Romero and Wes Craven, and the grueling physical challenges due to budget cuts that forced constant script changes and challenging shooting conditions that she faced during the filming of his sci-fi fantasy Swamp Thing. All three films and HBO’s TV series have attained cult success.
Adrienne Barbeau and Swamp Thing 1982 courtesy of Embassy Pictures.
Adrienne also discusses her voice acting work in animated features like Catwoman in Batman: The Animated Series and shares a few hilarious misadventures, such as filming on location for the low-budget Burial of the Rats 1995 in war-torn Russia.
Adrienne Barbeau also talks about her debut album released in 1997, the self-titled Adrienne Barbeau, showcasing her versatility further. It's a great collection of country, blues, jazz, and pop tunes she performs in her concert appearances across the country. She went on tour, performing in concerts across the West Coast and Vegas.
She rounds out the book by discussing how prolific she’s been with her series of urban fantasy novels, the first of which was Vampyres of Hollywood, published in 2008.
Her official website is here. Her Instagram is here
The Accidental Scream Queen:
“You get typecast in Hollywood,” she said. “I think ‘Maude’ got everyone thinking I could only play comic women’s libbers. So in my TV work after ‘Maude,’ I did only drama. Now maybe ‘The Fog’ will help people think of me as slightly more versatile.”
The fluidity of labels. Labels are not fixed. The mutable nature of professional labels is challenging for actors who seek to redefine their artistic identities. In the dynamic landscape of the entertainment industry, an actor's perceived typecasting is often a transient construct, subject to evolution and redefinition. Actors are capable of transcending initial labels and reshaping industry perceptions. You can be many things all at once. It's what I call the; ‘Art of being many.’
She is considered a horror legend, yet she doesn’t have a strong affinity for the genre. She doesn't like to be scared, so it is ironic that she became a Scream Queen. It's also interesting that she wound up working with horror director royalty, the likes of John Carpenter, George Romero, and Wes Craven.
Adrienne Barbeau with director John Carpenter on the set of The Fog in 1979.
One reason she earned the title: “Also, because I was identified emotionally and socially with John Carpenter and because the first couple of films were "˜horror films.' Then I've got another label started out. (at first) Oh she's a musical comedy girl, then she's a comedienne. – TV wouldn't even see me for drama until I finally cracked that nut. Oh she's a TV actress, oh she's a film actress, oh but it's horror queen.” (interview with Ernie Manhouse 2015)
"I never set out to act in horror films specifically. I wasn't even aware of the genre, really. But I was offered the role of Stevie Wayne in The Fog, and in those days, if you were known for your work on television, you couldn't get hired to do movies. So when The Fog came along, I jumped at the chance. None of us knew, back in 1979, that the film would still be as much loved today as it was then." And as far as the 2005 remake goes? "I haven't seen the remake. Probably never will." (Jesse Striewski in an interview for Rewind It Magazine interview Oct 28, 2021)
Adrienne Barbeau’s career trajectory is a testament to her versatility and resilience in an industry often quick to pigeonhole its talent. She first captivated audiences on Broadway, showcasing her theatrical chops before pivoting to the small screen, where she honed her comedic timing in one of Norman Lear’s crucible sitcom television series – Maude. Because of her fluid ability to adapt – the series catapulted her to prominence as a feminist standard-bearer and "˜sex symbol' in popular culture.
Adrienne – On the set of The Fog in 1979 with director John Carpenter.
"The Fog was my first feature film. And I think in part because I was married to John by that time and in part because The Fog was a horror film or a fantasy or whatever you call it, ghost film that then the label came. Oh, she does genre movies. They didn't even say genre in those days. She does horror movies. She's a Scream Queen. But it hasn't followed me all the way through. I ended up doing comedies Back to School and Cannonball Run and a lot of stuff that god forbid anybody should see. Which I took for various reasons." – (from the Rue Morgue interview)
As she made the leap to cinema and throughout her journey commanding attention on the silver screen, Adrienne Barbeau’s vibrant presence defies simple categorization. Adrienne’s career arc saw her evolve from a feminist icon in television comedy and drama to a captivating film siren and serious actor who embodies sensuality, resilience, and strength always – with apparent ease. Yet, among the myriad roles she’s inhabited, one label has clung to her from her die-hard fans who have fueled her her image with particular tenacity: is that of Scream Queen. Being the symbol of the genre, far from being a limitation, has become a crown she wears with distinction, a lasting emblem that resonates with fans and cements her status in the pantheon of horror cinema.
However, her career is a vibrant legacy of reinvention, proving that an actor’s essence can be simultaneously multifaceted and as well as iconic.
When she arrived in Los Angeles after her Broadway success, she faced the challenge of industry typecasting. Her theatrical background led to her being labeled primarily as a stage actress. Her transition to television with her role in the sitcom Maude at that time further narrowed perceptions of her as she became widely recognized as a comedienne.
This pigeonholing created significant obstacles for Adrienne when she sought artistic growth and expanding talents to embrace dramatic roles. Yet once again, her success in comedy paradoxically became a challenge to overcome, as she tried to be taken more seriously for dramatic parts and not be limited by a perceived lack of range.
"Maybe I was typecast – I had labels put on me right from the beginning because I started as a musical comedy actress on stage on Broadway.”
Adrienne Barbeau proudly welcomes the designation of Scream Queen with pride; though she has openly acknowledged that she has no interest in watching horror films, I do not have a hard time imagining Adrienne Barbeau in a recurring role as an action hero or badass cop brandishing a formidable weapon. Or having her own television show playing a woman cop like Angie Dickincon's Police Woman.
Adrienne has recognized that she’s more geared toward action movies and thrillers, citing an appreciation for the psycho-sexual suspense masterpiece Alan J. Pakula's Klute 1971, which starred Jane Fonda as high-price call girl Bree Daniels.
Adrienne has stated that she believes part of the reason she winds up exploring the horror world is the volume of offers that keep coming her way, in contrast to other genres. These projects have enabled her to play an emotional spectrum and women survivors who wind up being the heroine and not the victim.
“Those are the kinds of roles I’m drawn to and that I tend to play better than the victim, who knows. Although I didn’t start out doing them. I started out on Broadway doing musical comedy. I was the original Rizzo in Grease, and so, that’s a far cry from where I ended up. But because my first feature was The Fog and it was a genre film, I identified with that genre and I love doing them when they’re good, when they’re well written.” (2020 interview with Coming soon.)
Rob Zombie, Malcolm McDowell, and Adrienne Barbeau on the set of his reiteration of Halloween 2007.
While she has an affection for the horror movies she has a relationship with, she turned down a role in Rob Zombie's The Devil's Rejects in 2005, voicing her opinion that it was just "˜too much' for her. Zombie's film has a hyper-violent and grotesque vision for the genre that has evolved through a very anti-philosophical lens. The genre’s evolution in contemporary terms has adjusted the mechanisms that constrain its focusing range on the relentless assault on our senses. There are classical horror films that have successfully balanced psychological terror and raw, visceral impact for the audience. If Adrienne Barbeau didn't like being scared before, she certainly wouldn’t want to be involved with a film that disturbs beyond mere catharthis of our collective fears.
Note: Zombie has cast notable, extremely talented classic actresses in his film The Lords of Salem, the other notable Scream Queens – Meg Foster, Dee Wallace, and Judy Geeson. While the casting coup of having Adrienne sign on to the project might have sweetened the pot for me, I still couldn’t bring myself to watch it.
Adrienne, as Stevie Wayne, warns Antonio Bay about the menacing fog.
Nothing about horror film narratives drew Adrienne to the genre initially. Aside from the horror films she had starred in, Adrienne never watched scary movies, not even Hitchcock's seminal thriller, Psycho, in 1960. So, in a big way, the genre sort of found her.
It wasn't until she starred in The Fog that she was offered these types of films. Adrienne has graciously come to embrace the title and has said that she is incredibly grateful and enjoys doing them when they're well-written. She even incorporated a Scream Queen character – Ovsanna Moore, the 500-year-old vampire. into her novels, showing her appreciation for the title.
Adrienne Barbeau poses on the red carpet at Scarefest in Lexington, Ky. Pablo Alcala 2010.
Even if she's not a horror aficionado herself, Adrienne Barbeau's impact on the horror genre is unmistakable. Her nuanced performances, intelligence, versatility as an actress, willingness to take on challenging roles, and commitment to her characters have established her reputation as one of the most respected and enduring, formidable presences as a Scream Queen in the history of the horror genre.
Adrienne Barbeau as Ruthie, the snake charmer in HBO Carnivà le.
"The characters have gotten older. That’s about it. I’m still attracted to strong women’s roles, sometimes the villain, sometimes the heroine, rarely the victim."
Regardless of whether she sought to attain the honored title or not, Adrienne Barbeau's reputation as a queen of horror is cemented across the cinematic and television landscape, from scholarly discourse to popular culture. There's a diverse array of voices in film scholarship and fandom consensus among a chorus of film critics, historians, journalistic critiques, aficionados, genre enthusiasts, and grassroots horror communities alike – affirm that Adrienne Barbeau fervently ranks high on the level of Scream Queen. Her credentials as horror royalty are unassailable, garnering unanimous recognition from the highlights of pop culture.
Whether by design or chance, Adrienne Barbeau has emerged as a celebrated figure of the realm.
Now that we got that out of the way, let's talk about the "˜art of being’ ‘many' other things.
Continue reading “Grease To Grit: The Unforgettable Journey of Adrienne Barbeau -Part 1”
In Memoriam: Gena Rowlands: A Luminary of Emotion and Depth dies at 94
Saying goodbye to authentic, complex & fearless Gena Rowlands
Oscar-nominated actress Gena Rowlands, renowned for her powerful performances in films like “A Woman Under the Influence” and “Gloria,” has passed away at the age of 94. Her illustrious career, which spanned nearly seven decades, included significant collaborations with her husband, director John Cassavetes, and earned her numerous accolades, including three Primetime Emmy Awards and an honorary Academy Award in 2015.
Gena Rowlands began her career in dramatic television with notable performances in anthology series like Robert Montgomery Presents, Alfred Hitchcock Presents, and The Alfred Hitchcock Hour, showcasing her talent in complex roles that would later define her film career.
In the gripping episode “The Lonely Hours” of The Alfred Hitchcock Hour, Gena Rowlands delivered a riveting performance as a young mother locked in a psychological battle with Nancy Kelly’s character, a deranged woman who kidnaps Rowlands’ son. Rowlands skillfully portrayed the anguish and determination of a parent facing every mother’s nightmare while engaging in tense verbal exchanges with her son’s captor. Her nuanced portrayal showcased her ability to convey complex emotions, foreshadowing the intense dramatic roles that would define her later career.
Her portrayal of a mother confronting her son’s AIDS diagnosis in An Early Frost earned her critical acclaim and her first Emmy nomination, highlighting her ability to tackle sensitive and challenging subjects on screen. She even appeared in the episode Playback that aired on March 2, 1975, of Columbo, where she plays Elizabeth Van Wick, the wheelchair-bound wife of the murderer Harold Van Wick, portrayed by Oskar Werner, who kills her mother, Myrna Loy.
Rowlands broke new ground in Indie cinema. In The Notebook, Gena Rowlands delivered a poignant performance as the elderly Allie Calhoun, skillfully portraying the emotional depth of a woman grappling with dementia while reflecting on a profound romance from her youth. Her ability to channel personal experiences, particularly her own mother’s battle with Alzheimer’s, added authenticity to the role, resonating deeply with audiences and contributing to the film’s lasting impact.
Gena Rowlands: A Woman Under the Influence of Brilliance
The alchemy of Gena Rowland's acting style is how she integrates her craft with an indescribable beauty and presence that is reminiscent of Hollywood's Golden Age.
Before the emotionally distilled and complex actress emerged as an icon, Gena Rowlands set out with her husband, John Cassavetes, to create a new naturalistic landscape of independent American movies in the 1970s that inspired generations of filmmakers. She began showing the attractive pull of her strength in dramatic teleplays for early television programming.
Shows like Robert Montgomery Presents, Ponds Theater Armstrong Circle Theatre Studio One, The United States Steel Hour, Goodyear Playhouse, General Electric Theater, and of course Alfred Hitchcock Presents and The Alfred Hitchcock Hour. She had a regular stint on the television police procedural series 87th Precinct, playing cop Robert Lansing's deaf wife. In 1975, she starred alongside Peter Falk (One of Cassavete's inner sanctum of actors along with Ben Gazzara) in Columbo's season 4 episode Playback.
In feature films, she was cast as Jerry Bondi in Lonely Are the Brave in 1962, in Cassavetes' A Child is Waiting in 1963, and in Gordon Douglas' Tony Rome 1967, starring friends Frank Sinatra and Richard Conte.
Working since the mid-1950s, Rowlands began to give shades of the forceful performances to come in the three episodes of Hitchcock's series, in particular, The Lonely Hours, playing off veteran stage actress Nancy Kelly.
Gena Rowlands was nominated for two Academy Awards for her performances in director/actor husband John Cassavetes' films. In 1974 for A Woman Under the Influence and in 1980 for her gutsy portrait of one tough broad in Gloria 1980.
She was also nominated for eight Golden Globes having won two, and eight Emmys winning three. On November 14th, Gena Rowlands was finally given an Honorary Oscar at the Governors Awards ceremony.
"With her bold bone structure and the curtain of her wheat-gold Jackie O coif, Gena Rowlands is the classic Hollywood icon that got away"¦. Had she been born into the Studio ear of the 1930s or 1940s, one suspects that she would have sured up a career running across the grand roles, from the tough boots molls through to the stoic others and peppery femme fatales. She has the angular hardness which typifies the best of them in that period- one can imagine her, as easily as Crawford, Davis, Stanwyck or Bacall." -bfi.org.uk
"I'd never seen anyone that beautiful with a certain gravitas. It was particularly unique in that time, when many women were trying to be girlish, affecting a superficial, "˜I'm a pretty girl' attitude. It seemed to be the best way to succeed, but Gena did none of that. There was a directness"”not that she wasn't fun and didn't smolder"”but it came from a place that was both genuine and deep." "“ Mia Farrow
Director Sidney Lumet in an interview with critic James Grissom, said: "The highest compliment I can pay to her"”to anyone"”is that the talent frightens me, making me aware of the lack of it in so many and the power that accrues to those who have it and use it well. And the talent educates and illuminates. She is admirable, which can be said of only a few of us."
In Faces 1968, nominated for 3 Oscars, Rowlands plays prostitute Jeannie with director Cassavetes with something like steel and fearlessness behind her eyes, asserting a challenge to try and reach her after being crushed by men. Rowland manifests a performance "˜aching with wordless solitude' (Ebert)
In the visual poem about loneliness and the feeling of isolation, Minnie & Moskowitz 1971 stars Rowland as the edgy blonde Minnie who perceptively flickers with co-star Seymour Cassel and displays her captivating sensuality under Cyclopean sunglasses.
Minnie works in a museum and has never forgiven the movies for selling her a bill of goods. "The movies lead you on," she tells her friend Florence. "They make you believe in romance and love . . . and, Florence, there just aren't any Clark Gables, not in the real world. Still, Minnie dreams, and keeps a romantic secret locked in her heart: She's glad the movies sold her that bill of goods. (Roger Ebert)
Rowlands garnered her first Oscar nomination for her unforgettable performance as Mabel Longhetti in A Woman Under the Influence 1974, co-starring Peter Falk, who is in the grips of Mabel's mental illness.
"It left me exhausted and depressed-feeling. Some of the time, when you're walking out there where the air is thin, you just hope you can walk back again." -Gena Rowlands.
From an interview with Matt Zoler Seitz "“ talking about A Woman Under the Influence-
"That was my favorite movie. I loved doing that movie. I loved it because I loved working with Peter Falk, I loved the mix of comedy in it, that was sort of real comedy.Â
The film was about a woman who was obsessed with the love of her husband, for her husband. And he was a regular guy, worked for the city, had to do his work at night, or in daytime when there was a call for it. She plans so heavily for a romantic night, gets her mother to take her children over to her house, gets house in tiptop shape"”she was a woman who was really obsessed. Then he got a call that the water line had broken and had to call her and say that he couldn't come home later, and then he came back the next morning with all of his friends, and she was very happy to see him to offer them all breakfast, but mostly because she wanted to please him always, and she offers to make them spaghetti. Do you remember that scene?
Yes, I remember the spaghetti scene. Everybody remembers that scene, it was a great scene.
"It's so wonderful to do a scene like that, where it feels so true. You can tell a lot about her in that scene. You see that everything she did was to please him"¦
I also liked the fact that in that film, I was a little wacko, but my husband understood that and he loved me, and it didn't bother him that I was as strange as I could be. When I have this terrible breakdown and have to go away for a while, leave him and my children, oh"”that's a hard scene. We're showing a hard moment in a person's life, a terribly hard moment. Then she comes back and they try to make it easy for her as possible. It's just so good, all the scenes."
As Myrtle Gordon, Rowlands gives another masterful performance in Cassavetes' Opening Night portraying a successful stage actress's "˜final agony of bottoming out' (Ebert), rehearsing a production of The Second Woman in New Haven, whose life is turned upside down after she witnesses a 17-year-old fan's death outside the theater.
Gena Rowlands in Opening Night 1977.
Rowlands plays the role "At perfect pitch: She is able to suggest, even in the midst of seemingly ordinary moments, the controlled panic of a person who needs a drink, right here, right now." (Roger Ebert)
She captures the restless energy that imbues the behind-the-scenes world of the theater and the "˜dreary perspective of Myrtle's uninspiring production she stars in.' (Chris Wiegand- The Guardian).
"All while descending into a prolonged crack-up involving binge drinking, consultations with mediums, and a repeat hallucination of a young girl"¦ Early on, when Myrtle is first confronted with the hallucination/girl, there's a closeup of Rowlands' face that is an example of her unique genius. Even very talented actors feel the need to show an audience "what a moment is about." Not Rowlands. In that closeup, Myrtle stares at the girl, wondering if she has finally lost her mind, and then she puts an almost welcoming expression on her face, before mouthing the word, "Hello!" It's hair-raising." Ebert)
Nipping at booze, Myrtle trips between reality on and off stage, drenched in an alcoholic delirium "“ "Rowlands' drunkenness in "Opening Night" is in the pantheon of Great Drunks onscreen." (Roger Ebert).
Myrtle drifts in and out of character, conjuring visions of two women who do not exist. Virginia the role for which she is wary of, struggles to portray an older woman for the first time, a character who is aesthetically defined by her age. And embracing the phantom of Nancy, the young girl who died, whose youthful receptiveness is what she seeks to direct, all within an oppressive environment driven by the men she works with, director (Ben Gazzara) and ex-lover co-star (Cassavetes).
How can you bring a character alive if you don't believe in them "“ Myrtle asks playwright Sarah Goode played by Joan Blondell. Myrtle needs to reclaim her identity on stage and for herself.
"The scenes in which Myrtle in Opening Night consults first one and then another spiritualist are typical of Cassavetes' genius in filming madness. He gives us characters who are clearly breaking apart inside, and then sends them hurtling around crazily in search of quick fixes and Band-Aids. (In "Love Streams," the hard-drinking Cassavetes surrounds himself with hookers, while Sarah (Rowlands), as his sister, fills a taxicab with animals she has "rescued" from a pet store; in "A Woman Under the Influence," a crowd of basket cases sit down to eat a big dinner that has been whipped together under the delusion that life is normal and everybody is having a great time." Roger Ebert
Gena Rowland in Gordon Douglas' Tony Rome 1967.
In Gloria 1980 directed by John Cassavetes, a film Rowlands considers a "˜gangster comedy,' gets to play the hard-edged gun moll she would have perfected in the best film noirs of the 1940s. The film takes an unexpected approach to motherhood- as Gloria Swenson becomes the reluctant guardian of a little boy whose family is murdered by the mob. The two go on the run in the gritty streets of New York City in possession of a book that the mob wants. Rowland is never fake while she roars and swears at the thugs chasing her on the subway, moving like the wind down the sidewalks of New York in her silk suits, handling her gun like an uncompromising pro. "˜"˜I don't want to be a victim! Victim, that's passe; I've played a victim. I don't want to be a victimized, you know, a victimized person again"¦This is a victimized person, isn't it?'Â he assures her -"˜' No, it's not a victimized person. A very strong person. You're not a victim; you're an "˜anti-victim." "Good, don't get it in your mind that I'm a victim!'" (Rowlands from a conversation with husband John Cassavetes).
Cassel and Rowlands in Minnie and Moskowitz in 1971.
Gloria for Gena Rowlands is where she gives flight her roles rooted in vulnerability and deep psychological storms. In the film, she attains ascendency puts a gun to the head of the personal victimization, and defies some of her older collaborative roles with Cassavetes interpreted by instability and downward spirals. She wouldn't allow herself to be trapped by stereotypes of "˜eccentric, middle-aged women.' which was a role that established her on-screen persona in the 1970s.
"Love is a stream. It is continuous. It doesn't stop."
In 1984's Love Streams, directed by John Cassavetes, Gena Rowlands portrays Sarah Lawson, a character whose life has been unexpectedly upended when she finds herself in the midst of a divorce from her husband Jack, portrayed by Seymour Cassel.
Adding to her pain, her young daughter Debbie (Risa Martha Blewitt) chooses to live with her father instead. At a time when she questions whether she is worthy of love, experiencing an emotional breakdown she reaches out to her brother Robert (Cassavetes).
Rowlands objected to Cassavete's script, finding herself once again playing a "˜victimized person', but he assured her that Sarah was truly strong.
Sarah's divergence from the past "˜madwoman archetype' is in her resilience from her earlier roles in the 70s "“ as Mabel in A Woman Under the Influence whereas her therapist in Love Streams has a similar commentary that her love is "too strong for her family,''
Unlike Minnie, who is stripped down by Cassel in Minnie and Moskowitz in 1971, and Myrtle Gordon, whose mind becomes fractured during the New York premiere of her play in Opening Night, Sarah comes to a reckoning about how love flows and can be reached. And no one but Rowlands could compel heartache to emerge out of a smile.
Source Andrew Key
Source Chris Wiegand The Guardian
Source: RogerEbert.Com
Unraveling the Knot: Don’t Look Now (1973) A Mesmeric Paradox of Grief in Uncanny Red: Part 2
Of Grief & Ghosts: The Plot of Don’t Look Now (1973)
“The story evolves like a mosaic with the important pieces missing, just like one of those that John is restoring. Not unlike how the dissolution of the sealing material destroys the structures in the church, the reality of Baxters' life is falling apart, too. These cracks either should be mended, or they allow the forces from beyond and under to creep through them. The latter is especially true for John with his gift of clairvoyance, although resisted, or maybe especially because he resists it.” "” from Film Obsessive article by Magda Mariamidze
“If you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you.""” Gospel of Thomas
John (Donald Sutherland) and Laura Baxter (Julie Christie) bear the mark of a curse, a chilling revelation hinted at at the film's outset. Don't Look Now is a film about grief and loss. This is the most potent horror there is. Aside from the killings in Venice, it is these principles that are the true nature of this horror film. Roeg's masterpiece, the specter of death, and its companion grief are palpable and agonizingly real. The titles in quotations are baptized by the torrential British rain that licks the screen.
A Tragic Prelude: or In the Wake of Loss: The Opening of Don’t Look Now:
John Baxter: What are you reading?
Laura Baxter: I was just trying to find the answer to a question Christine was asking me: if the world’s round, why is a frozen lake flat?
John Baxter: Huh. That’s a good question.
Laura Baxter: [flipping through a book] Ah-ha. “Lake Ontario curves more than 3 degrees from its easternmost shore to its westernmost shore.” So, frozen water really isn’t flat!
John Baxter: Nothing is what it seems.
The juxtaposition of these images is Roeg’s way of highlighting the profuse symbolism consciously scattered throughout key scenes of Don’t Look Now. Here, I found a visible but not readily apparent cue signaling the dichotomy between the forces at work. Laura and the Red Devil, with their backs, turned to us.
Though it's a sunny day, we get a sense that it is a typically damp English morning mist in the yard of a country estate. The film cuts back and forth between the Baxters and their two children, playing outside by the pond. Christine and Johnny's parents are lost in a world of idle contentment within the house. The air hangs heavy with a bourgeois harmony. Both are tuned into their work, though, with an unhurried cadence.
Laura is reading Beyond The Fragile Geometry of Space, a book that can be seen on the sofa, so that she can answer Christine's question about the earth’s shape. John comments, " Nothing is as it seems."
Alongside du Maurier's narrative, the film begins with Laura investigating the answer to Christine's insightful curiosity: ” If the earth is round, why is a frozen pond flat?” This question highlights a paradox, as both statements can be seen as valid yet fundamentally contradictory.
The remnants of a lazy Sunday lunch linger: dishes abandoned, forks and knives scattered, while a thin ribbon of smoke rises from a forgotten cigarette in an ashtray, painting a picture of contented indulgence.
Their two young children, Johnny and Christine, continue to play around the pond on their bucolic property. Christine (Sharon Williams), an angelic little blonde girl in a shiny red Mac with the bright look of fresh blood"”red like a bleeding heart"”wanders around the pond pushing a wheelbarrow and chasing a bouncing ball. The sunny blue day surrounds the murky surface of the pond choked with reeds. The pond doesn't reflect the sky, but the water is like a mirror to Christine's red raincoat as she skirts her playful path. Meanwhile, her brother weaves through the trees on his bike, a silent fluttering moth against the verdant backdrop.
Christine’s playful moments with her ball create an unsettling visual dance. The little sphere, adorned with a crimson geometric design against the hazy day, seems to pulse and warp as it tumbles across the ground into the pond. This optical illusion subtly disturbs our perception, adding to the film’s undercurrent of unease without drawing attention to itself. She is holding her brother's toy soldier, Action Man, who, when you pull the string, possesses the recorded voice of a woman calling out strategic military commands.
As soon as Christine tugs the string on her doll, it utters, “Enemy 1000 feet…fall in.” In that instant, Johnny topples over his bike, is felled by a rock, and is cut by a shard of broken glass after he has ridden his bike over a pane of glass, shattering it beneath the with of his tires.
In this stunning opening sequence, architect John Baxter is prepping for a restoration of a church in Venice. He scrutinizes his projector loaded with slides"”of an Italian church. Laura Baxter reads her books, and John is studying his slides of the medieval church he will be reviving. He focuses on one slide, in particular, of a stained glass window; the façade of piety is splendid, with the figure of Christ adorned in red robes. However, he has no solid faith or spirituality of his own to cling to.
It is the shadowy corner of the slide that catches John's eye"”a small, enigmatic red form huddled in a pew, cloaked in a red coat and hood. The sight triggers a sudden, curious feeling. This intruding presence, small, perhaps childlike in appearance, becomes the catalyst for John's sudden, horrifying vision"”an intuitive warning to him that Christine is in danger.
John accidentally knocks over a glass of water and watches with curiosity as a red stain emerges from the small figure, like blood, creeping across the slide. A seemingly unremarkable mishap ignites an unsettling vision that John's mind conjures. The red figure melts into a disambiguated crimson swirl that coils around the church's stained-glass window. By the time it settles, it is almost fetal in shape; the veiled red figure, once a mere curiosity, now takes on a sinister aspect. A vision of Christine wearing the same evocative color, red, becoming submerged in the murky depths of the nearby pond.
He leaps to his feet and heads for the door. Laura asks him what is happening. "Nothing," he tells her.
Laura tosses a slide onto the book on metaphysics as the image continues to bleed.
John runs out of the house, hurls himself at the pond, past his son, his hand cut from the piece of broken glass; he screams, "Dad!"
When John reaches the water, it feels like it takes forever for him to reach Christine; frozen by his anguish, he then plunges in and pulls his red angel from the watery nothingness, her lifeless body wrenched up into his arms as he agonizes over her limp body with drenched blonde wisps. Roeg intercuts this moment of visual artistry with the harrowing sight of John trying to trudge through the water until he breaks through. Christine’s lifeless body is cradled in his arms as time and reality blur – in an unreadable mixture that will become past and present.
Unraveling the Knot: Don’t Look Now (1973) A Mesmeric Paradox of Grief in Uncanny Red: Part 1
The basic tenet of horror movies – "˜ Nothing is as it seems "˜ and for me, Don't Look Now is a death of all certainties.
In the early seventies, when even mainstream films could be fearless and experimental, smashing taboos and taunting the censors, it was non-conformists who offered cinemagoing a uniquely intense experience.
 “Don't Look Now 1973 retains its power and mystery today thanks to Roeg's mastery of what Alfred Hitchcock famously called "pure cinema," manifest in his visual sleight of hand and, above all, in his refusal to be bound by the conventions of dialogue-driven narrative and simple chronology. All this has shaped a style that has justifiably come to be described as "Roegian."– (David Thompson: Seeing Red 2015 article CRITERION )
“Nothing is what it seems," says John Baxter, the protagonist of Don't Look Now, at the start of the film. The rest of the movie depicts the tragedy of Baxter's incapacity to apply this fundamental wisdom in his own life. "Nothing is what it seems" may be an untested platitude, but it's a truism when it comes to movies, and Don't Look Now is one of the great "movies-about-movie-watching" ever made. Primarily, it is about the act of perception itself"¦ By seeing an event that has not yet happened as something that is already happening (what-will-be as what-is), he (John) fatally confuses the signs and makes the future the past, i.e., irrevocable, inescapable. Like a movie stamped on celluloid, or the glimpse of the satanic dwarf on the slide Baxter is handling in the opening scene, he fixes something in time, and thereby turns life into death.""” (article – Jasun Horsley Cinephilia and Beyond)
"He was a genius, Nic. A visionary. He made a love scene between a grieving wife and herhusband with no cries of passion, no sounds of orgasm, no words. All you hear is Pino Donaggio's music as Nic intercuts their making love with them getting dressed to go out to dinner. Magical. You don't see that scene as a voyeur. You watch it and it reminds you of yourself, of you being loving and you being loved. We decided it would be wisest not to shoot John's death scene until we'd done everything else, in case the unreliable prop knife failed and my throat would be cut, spilling red. Fragmented, abstract images colour and tell his stories. Look at Omar Sharif on a camel, coming from the other end of the desert towards the camera. That's Nic. Look at the Sahara's empty foreground and suddenly the smokestacks of a steamer crossing from left to right along the unseen Suez canal. That's Nic. He was the was the first to use Panavision's R-200°, which meant he had 15 degrees more shutter for Don't Look Now than the 185°s that were the best before. He was everything I ever wanted from a filmmaker. He changed my life forever. Francine and I asked him if we could name our firstborn after him. He said yes. Our glorious son is named Roeg." - (Interview – Donald Sutherland)
Home for the Holidays 1972 Made for TV Movie: "The next time, I will not be the one who wakes up screaming.”
"There's nothing more chilling than a warm family gathering."
A Flashback to the 1970s: ABC Movie of the Week:
Even now, when I hear that iconic theme music from the ABC Movie of the Week, I can’t help but feel a wave of nostalgia wash over me, like a warm hug from a long-lost friend who just walked in wearing bell-bottoms and a tie-dye shirt. It's like my heart does a little happy dance, reminding me of those cozy nights I spent rapt by the TV, ready for whatever wild ride the network had in store.
Growing up in the 70s, I was drawn to its unique vibe; who wouldn't get misty-eyed thinking about the sheer joy of watching a made-for-TV movie? Those were the days when that format was our portal to adventure, and that theme music was the soundtrack to our childhood dreams!
I often love reflecting on those days – the groovy vibes of the 1970s when the ABC Movie of the Week burst onto the scene, pulling you into its orbit. Launched in 1969 as a bold move to jazz up ABC’s lineup, this anthology series became a cultural phenomenon, delivering a fresh, funky mix of drama, suspense, and heartwarming stories that kept viewers like me glued to their couches.
With its vibrant opening theme and a mosaic of original films, the series kicked off with Seven in Darkness, a gripping tale of survival that set the tone for the creative magic to come. Each week brought a range of unique offerings, from the nail-biting tension of Duel, directed by the visionary Steven Spielberg, to the heartfelt camaraderie of Brian’s Song, which touched us on such a deeply emotional level.
The ABC Movie of the Week was more than just entertainment; it was a cultural touchstone that launched the careers of iconic actors and filmmakers, all while capturing the spirit of an era defined by bold experimentation and social change. With unforgettable stories and a flair for the dramatic, this series left an indelible mark on the fabric of television, making it a true classic of the 70s that still resonates today.
The landscape of 1970s television was rich and varied, featuring everything from soap operas and detective dramas to family sitcoms and supernatural thrillers. This era was characterized by a diverse array of genres, from groundbreaking sitcoms and gripping dramas to whimsical variety shows and thrilling action series. Shows like All in the Family, Mash, Columbo, and The Rockford Files captivated viewers with their clever plots and charismatic actors. They not only reflected the zeitgeist of the era but also influenced future generations of storytelling on screen.
The legendary Aaron Spelling contributed his vision to American television in a big way. He left a legacy as a producer known for creating some of the most unique made for tv movies chillers like Curtis Harrington’s How Awful About Allan 1970 and Satan’s School for Girls 1973 and iconic shows of the 1970s and beyond, including Charlie’s Angels, Dynasty, and Beverly Hills, 90210. With a career spanning over five decades, he holds the Guinness World Record for the most prolific television producer, crafting a staggering 4,300 hours of programming that defined the landscape of American pop culture.
Thanks so much, Gil of Realweegiemidgetreviews, for hosting this wonderful blogathon and giving me a chance once again to feel the groovy sense of nostalgia during my New York summer heatwave with this little chilly holiday tale of family fights and frights!
Around the corner at The Last Drive In
In just a few days, I’ll be publishing my feature article for Nicolas Roeg’s meditation on grief, Don’t Look Now 1973. This is perfect timing to pay tribute to one of the most prolific, beloved actors, Donald Sutherland, who we just lost a few days ago.
Donald Sutherland (NY Times article), whose unforgettably versatile performances in films like Don’t Look Now has left an indelible mark on cinema and the artistry that defined his impressive career. Films that include M*A*S*H 1970, Kelly’s Heroes 1970s, Klute 1971, Casanova 1976, Invasion of the Body Snatchers 1978, and Ordinary People 1980.
I am also really, really excited to announce… my upcoming interview with the indomitable Adrienne Barbeau, A Trailblazer of Stage and Screen!
So grab a box of raisinets and get ready for some good ol’ long-winded stuff from your EverLovin’ Joey!
Merry Midsummer June 20, 2024! 🌞
This is your EverLovin’ Joey sayin’ Let the sun shine, Let the sun shine in… the sun shine in! ☀ï¸
Farewell to the King of the B’s: Cult Auteur Roger Corman dies at 98
"Now that we can create anything you can imagine with CG and technology, I think sometimes the special effects are emphasized over the story. It should still be about effects serving the narrative."
"”Roger Corman
For decades, Roger Corman was the Michelangelo of the B-movie, single-handedly painting hundreds of low-budget movies at the neighborhood drive-ins with titles like It Conquered the World, Attack of the Crab Monsters, Little Shop of Horrors, X The Man with the X-Ray Eyes, The Wild Angels and a title that lingers called The Terror which featured a handsome unknown Jack Nicholson. All were created at the fastest pace on the cheapest budget imaginable. And it could be said the trailers (and titles) were just as exhilarating as the features. But beneath the cheese resided a surprising truth: Corman was a godfather of American independent film who played a prominent role in launching the careers of directors such as Martin Scorsese, Jonathan Demme, Peter Bogdanovich, and Francis Ford Coppola.
Some of his most notable films were his adaptations of Edgar Allan Poe, which featured the hauntingly surreal art design by Daniel Haller and the Baroque magnificence of Vincent Price at the center of it all. About those masterpieces of the macabre to come!
Some of my most beloved memories as a kid growing up in the early 1960s are spending balmy afternoons exploring Corman's world. It's about time I paid tribute to his monumental contribution in the wake of his passing. And you know me… I’ll cover it all.
Read The Hollywood Reporter article here:
This is your EverLovin Joey saying: Keep an eye out here at The Last Drive In"”I'll be planning something special, it won't be cheap, and it won't be quick- not for the King of the B’s!